Unfolding Chords

Let's take a look at all the ways in which we can approach arpeggiating a chord across the strings.

I'm calling this concept "Unfolding Chords".

This is an expansive topic, so don't feel like you need to absorb this all at once. 

Now, we're going to experiment with these notes. After the root, we have a choice. Either we play it on the same string as the previous note, or we move to a higher string.

If you're confused about what I mean, take a look at the various ways we can play these notes below.

After the root, we have two options for playing each note. Since we have two ways to play the 3rd and 5th, we have in total four ways of playing the major triad notes with this method.

Play each for yourself, continuing to call out the Root, Major 3rd, and Perfect 5th as you play.

After the root, we have two options for playing each note. Since we have two ways to play the 3rd and 5th, we have in total four ways of playing the major triad notes with this method.

Play each for yourself, continuing to call out the Root, Major 3rd, and Perfect 5th as you play.

Once you're comfortable, change to the notes of Am and repeat this process.

Now let's move on to more complex chords. I want to try this process again with Amaj7,  with the root still set on the low E.

Since there are now 3 notes that we have 2 options for, there are a total of 8 ways to play a 7th chord with this method!

See if you can find them all. When you're satisfied, check your work below.

Some of these are much more playable than others, so take note of the ones you find most useful.

The others will still be effective at times when you need to access a different part of the fretboard, or just for building your understanding of intervallic relationships.

Now I want you to repeat this process with the root starting on different strings. Remember that the B string will cause the shapes to vary.

Below I've included diagrams for the shapes across the strings.

Some of these are much more playable than others, so take note of the ones you find most useful.

The others will still be effective at times when you need to access a different part of the fretboard, or just for building your understanding of intervallic relationships.

Now I want you to repeat this process with the root starting on different strings. Remember that the B string will cause the shapes to vary.

Below I've included diagrams for the shapes across the strings.

As you can see, as we move higher on the strings, our options reduce because we are limited in how many times we can move up further.

It's worth noting that these shapes can be combined in many ways to span octaves, as seen below.

First, a couple options for combining E and D root shapes:

Now A and G root shapes:

Here we play the root across four octaves:

Now that we've exhausted our options for Major 7ths, we should start this whole process over with other chords.

You may like to try this with:

- Minor 7ths (1-b3-5-b7)

- Dominant 7ths (1-3-5-b7)

- m7b5s (1-b3-b5-b7)

This has been a pretty good look at our options for arpeggiating chords, but there's a catch. Everything we did here was ascending upwards from the root. We need to also look at this from a descending angle.

When you're ready, proceed to Unfolding Chords - Descending to continue your arpeggio journey!

A goal for the future will be to begin arpeggios elsewhere than the root, and build awareness of our options for ascending or descending from that point, but we'll save that for later.